View source for Shamisen

{{short description|Japanese plucked stringed instrument}}
{{more citations needed|date=June 2023}}
{{titlelang|ja}}
[[File:Tokyo Geisha with Shamisen c1870s,.jpg|thumb|Tokyo [[geisha]] with {{transliteration|ja|shamisen}}, {{circa|1870s}}]]
[[Image:Maple Leaves Koyo and Shamisen by Kitagawa Utamaro c1803.png|thumb|Kitagawa [[Utamaro]], "Flowers of Edo: Young Woman's [[Joruri (music)|Narrative Chanting]] to the {{transliteration|ja|Samisen}}", {{circa|1800}}]]
[[Image:Man playing shamisen.jpg|thumb|A [[Japanese people|Japanese]] man playing a {{transliteration|ja|shamisen}} while another sings]]
[[File:Shamisenwithvocals 2006.ogg|thumb|A {{transliteration|ja|shamisen}} accompanying the traditional [[Kouta (music)|kouta]] {{nihongo||心して|Kokoroshite}}]]

The {{nihongo||{{linktext|三味線}}|'''shamisen'''}},  also known as {{nihongo||{{linktext|三絃}}|'''sangen'''}} or {{transliteration|ja|'''samisen'''}}
(all meaning "three strings"), is a three-stringed [[traditional Japanese musical instrument]] derived from the Chinese instrument {{transliteration|zh|[[sanxian]]}}. It is played with a [[plectrum]] called a [[bachi]].

The [[Japanese pronunciation]] is usually {{transliteration|ja|shamisen}} but sometimes {{transliteration|ja|jamisen}} when used as a suffix, according to regular [[rendaku|sound change]] (e.g. {{transliteration|ja|[[tsugaru-jamisen]]}}). In [[Western Japanese]] dialects and several [[Edo period]] sources, it is both written and pronounced as {{transliteration|ja|samisen}}.

The construction of the {{transliteration|ja|shamisen}} varies in shape, depending on the genre in which it is used. The instrument used to accompany [[kabuki]] has a thin neck, facilitating the agile and virtuosic requirements of that genre. The one used to accompany [[Bunraku|puppet plays]] and [[Min'yo|folk songs]] has a longer and thicker neck instead, to match the more robust music of those genres.

==Construction==
[[File:Shamisen diagram.svg|thumb|300px|{{transliteration|ja|Shamisen diagram}}: {{ordered list|head ({{transliteration|ja|tenjin}})|{{transliteration|ja|ebio}}|strings ({{transliteration|ja|ito}})|protective piece of leather ({{transliteration|ja|bachigawa}}, {{transliteration|ja|azumasawari}})|membrane ({{transliteration|ja|kawa}})|bridge ({{transliteration|ja|koma}})|silk knot holding strings ({{transliteration|ja|neo}})|{{transliteration|ja|hatomune}}|spike ({{transliteration|ja|nakagosaki}})|peg sleeves ({{transliteration|ja|zagane}})|peg ({{transliteration|ja|itomaki}})|peg ({{transliteration|ja|itomaki}})|peg ({{transliteration|ja|itomaki}})|top bridge ({{transliteration|ja|kamikoma}})|{{transliteration|ja|sawari}} valley ({{transliteration|ja|sawari-no tani}})|{{transliteration|ja|azumasawari}} screw|{{transliteration|ja|sawari}} mountain ({{transliteration|ja|sawari-no yama}})|{{transliteration|ja|chibukuro}}}}
View A shows the neck and head of a {{transliteration|ja|Yamasawari shamisen}}. View B shows the neck and head of a {{transliteration|ja|Azumasawari shamisen}}.]]
The {{transliteration|ja|shamisen}} is a plucked stringed instrument.<ref name="Alves 2013">{{cite book |last1=Alves |first1=William |title=Music of the peoples of the world |date=2013 |publisher=Schirmer, Cengage Learning |location=Boston, MA |isbn=978-1133307945 |page=320 |edition=3rd}}</ref> Its construction follows a model similar to that of a [[guitar]] or a banjo, with a neck and strings stretched across a resonating body. The neck of the {{transliteration|ja|shamisen}} is [[fret]]less and slimmer than that of a guitar or banjo. The body, called the {{nihongo||胴|dō}}, resembles a drum, having a hollow body that is covered front and back with skin, in the manner of a banjo. The skin used depends on the genre of music and the skill of the player. Traditionally, skins were made using dog or cat skin, with cat skin favored for finer instruments;<ref>{{cite book |last=Dalby |first=Liza |title=Geisha |date=2000 |publisher=Vintage Random House |location=London |edition=3rd}}</ref>{{rp|257–258|q=The body of the instrument is a hollow wooden frame, covered back and front with a tautly stretched skin — cat skin for finer instruments, dog skin for the cheaper practice models.}} though use of animal skins was common throughout the 20th century, use of these skins gradually fell out of favor, starting around the mid 2000s, due to social stigma and the decline of workers skilled in preparing these particular skins.<ref name="Hueston">{{cite news |last1=Hueston |first1=Dave |title=Shamisen faces crisis as cat skins fall from favor |url=http://www.japantimes.co.jp/culture/2016/12/29/music/shamisen-faces-crisis-cat-skins-fall-favor/#.WSBmvvUrLrc |access-date=20 May 2017 |work=The Japan Times |date=29 December 2016}}</ref> Contemporary {{transliteration|ja|shamisen}} skins are often prepared with synthetic materials, such as plastic.<ref name="Miki 2008">{{cite book |last1=Miki |first1=Minoru |editor1-last=Flavin |editor1-first=Philip |title=Composing for Japanese instruments |date=2008 |publisher=University of Rochester Press |location=Rochester, NY |isbn=978-1580462730 |page=89}}</ref>

The {{nihongo||棹|sao}}, or neck of the {{transliteration|ja|shamisen}}, is usually divided into three or four pieces that fit and lock together, with most {{transliteration|ja|shamisen}} made to be easily disassembled. The neck of the {{transliteration|ja|shamisen}} is a singular rod that crosses the drum-like body of the instrument, partially protruding at the other side of the body and acting as an anchor for the strings. The pegs used to wind the strings are long, thin and hexagonal in shape; though they were traditionally fashioned out of ivory, due to scarcity and trading regulations regarding and constricting the sale of ivory, many are now constructed from other materials, such as wood and plastic.

The three strings of the shamisen are made of either [[silk]] (traditionally) or [[nylon]]. They are stretched between the pegs at the head of the instrument, and a cloth tailpiece anchored at the end of the rod which protrudes on the other side of the body. The strings are stretched across the body, raised from it by means of a bridge, or {{nihongo||駒|koma}}, which rests directly on the taut skin. The lowest string is purposefully laid lower at the nut of the instrument in order to create a buzz, a characteristic [[timbre]] known as {{transliteration|ja|[[sawari]]}} (somewhat reminiscent of the "buzzing" of a [[sitar]], which is called ''[[Jivari]]''). The upper side of the {{transliteration|ja|dō}} (when on the player's lap) is almost always protected by a cover known as a {{transliteration|ja|dō kake}}, and players often wear a little band of cloth on their left hand to facilitate sliding up and down the neck, known as a {{transliteration|ja|yubikake}}. The head of the instrument known as a {{transliteration|ja|tenjin}} may also be protected by a cover. The material of the strings will depend on the skill of the player. Traditionally, silk strings are used. However, silk breaks easily over a short time, so this is reserved for professional performances. Students often use nylon or 'tetron' strings, which last longer than silk, and are also less expensive.

===Variations in construction and playing method===
[[Image:Shamisen compare.JPG|thumb|left|The {{transliteration|ja|heike shamisen}} compared with a medium-sized, or {{transliteration|ja|chuzao shamisen}}]]
The construction of the {{transliteration|ja|shamisen}} varies in shape and size, depending on the genre in which it is used. The {{transliteration|ja|bachi}} used will also be different according to genre, if it is used at all. {{transliteration|ja|Shamisen}} are classified according to size and genre. There are three basic sizes: {{transliteration|ja|hosozao}}, {{transliteration|ja|chuzao}} and {{transliteration|ja|futozao}}. Examples of {{transliteration|ja|shamisen}} genres include {{transliteration|ja|[[nagauta]]}}, {{transliteration|ja|jiuta}}, {{transliteration|ja|min'yo}}, {{transliteration|ja|kouta}}, {{transliteration|ja|hauta}}, {{transliteration|ja|shinnai}}, {{transliteration|ja|tokiwazu}}, {{transliteration|ja|kiyomoto}}, {{transliteration|ja|gidayu}} and {{transliteration|ja|tsugaru}}.

{{transliteration|ja|Shamisen}} used for traditional genres of Japanese music, such as {{transliteration|ja|jiuta}}, {{transliteration|ja|kouta}}, and {{transliteration|ja|nagauta}}, adhere to very strict standards. Purists of these genres demand that the {{transliteration|ja|shamisen}} be made of the correct wood, the correct skin, and are played with the correct {{transliteration|ja|bachi}}, with little room for variation. The {{transliteration|ja|tsugaru-jamisen}}, on the other hand, has lent itself to modern use, and is used in modern genres such as jazz and rock. As a more open instrument, variations of it exist for show. The tuning pegs, which are usually fashioned out of [[ivory]], and {{transliteration|ja|bachi}} which are fashioned from a combination of ivory and tortoise-shell for example, are sometimes made of [[acrylic resin|acrylic]] material to give the {{transliteration|ja|shamisen}} a more modern, flashy look. Recently, [[avant-garde]] inventors have developed a {{transliteration|ja|tsugaru-jamisen}} with electric pickups to be used with amplifiers, like the electric guitar.<ref>{{Cite web|url=http://www.shamisen-katoh.com/e/AXIS.htm|title=Shamisen KATOH|website=Shamisen-katoh.com|access-date=20 April 2021}}</ref>

===={{transliteration|ja|Hosozao}}====
The {{nihongo3|literally "thin neck"|細棹|hosozao}}, as its Japanese name implies, is the smallest kind of {{transliteration|ja|shamisen}}. The body is small and particularly square-shaped, with a particularly thin neck, which tapers away from the strings just as it approaches the body. Generally, the {{transliteration|ja|hosozao}} is used in {{transliteration|ja|nagauta}}, the shorter and thinner neck facilitating the agile and virtuosic requirements of [[kabuki]]. {{transliteration|ja|Hosozao shamisen}} built especially for {{transliteration|ja|nagauta}} ensembles are often simply known as {{transliteration|ja|nagauta shamisen}}. The {{transliteration|ja|hosozao}} is also often used in {{transliteration|ja|[[kouta (music)|kouta]]}}, where it is plucked with the fingernails.

===={{transliteration|ja|Chuzao}}====
The {{nihongo3|literally "middle neck"|中棹|chuzao}} is a size up from the {{transliteration|ja|hosozao}}. As its name implies, the neck is slightly thicker. As the neck approaches the body of the instrument, the distance between the strings and the fingerboard is maintained, unlike the {{transliteration|ja|hosozao}}, where it tapers off. The fingerboard ends abruptly, and the rest of the neck curves sharply into the body of the instrument. The pronounced curve that occurs just before the neck meets the body is called {{nihongo3|literally "pigeon's breast"|鳩胸|hatomune}}. The result is an extended fingerboard that gives the {{transliteration|ja|chuzao}} a higher register than the {{transliteration|ja|hosozao}}. The {{transliteration|ja|chuzao}} is favored for {{transliteration|ja|[[jiuta]]}}-style playing, with a broader, more mellow timbre. It is also an "all-round" instrument that can be used across many genres.

===={{transliteration|ja|Futozao}}====
The {{nihongo3|literally "fat neck"|太棹|futozao}} {{transliteration|ja|shamisen}} is used in the robust music of {{transliteration|ja|gidayubushi}} (the music of {{transliteration|ja|[[bunraku]]}}), {{transliteration|ja|[[Jōruri (music)|jōruri min'yo]]}}, and {{transliteration|ja|[[tsugaru-jamisen]]}}. In these genres, a thicker neck facilitates the greater force used in playing the music of these styles. The {{transliteration|ja|futozao}} of {{transliteration|ja|tsugaru-jamisen}} is quite a recent innovation, and is purposefully constructed in a much larger size than traditional style {{transliteration|ja|shamisen}}, and its neck is much longer and thicker than the traditional {{transliteration|ja|nagauta}} or {{transliteration|ja|jiuta shamisen}}.

===={{transliteration|ja|Heike shamisen}}====
The {{nihongo||平家|heike shamisen}} is a {{transliteration|ja|shamisen}} particularly fashioned for the performance of the song {{transliteration|ja|[[Heike Ondo]]}}, a folk tune originating from [[Shimonoseki]], [[Yamaguchi Prefecture]]. The neck of the {{transliteration|ja|heike shamisen}} is about half the length of most {{transliteration|ja|shamisen}}, giving the instrument the high range needed to play {{transliteration|ja|Heike Ondo}}. The use of more typical {{transliteration|ja|shamisen}} is possible, but they must be properly adjusted with a [[Capo (musical device)|capo]] device to raise their pitch to make them suitable for use. Today the strings are made out of steel to make a better sound and the [[drum heads]] are made out of plastic to avoid breakage in a performance.

====Variations in {{transliteration|ja|bachi}}====
The {{nihongo||撥|[[bachi]]}}, the plectrum used to play the {{transliteration|ja|shamisen}}, also differ in size, shape, and material from genre to genre.

The {{transliteration|ja|bachi}} used for {{transliteration|ja|nagauta shamisen}} can be made out of three possible materials: wood, plastic, or ivory. While many {{transliteration|ja|nagauta}} teachers generally do not approve of the use of plastic, if ivory is unattainable and wood is still out of price range, plastic is considered acceptable for use.

{{transliteration|ja|Jiuta bachi}} are made entirely out of plastic or ivory, plastic and tortoiseshell ({{transliteration|ja|bekko}}), or ivory and tortoiseshell. {{transliteration|ja|Jiuta bachi}} are the easiest to identify as they are the longest, the widest, and also have a deep indentation where the tortoiseshell meets the handle. There are sometimes also {{transliteration|ja|jiuta bachi}} that are made with a buffalo horn handle. The material, however, makes no difference in the sound.

The {{transliteration|ja|[[Bunraku|gidayu]] shamisen}} style uses the heaviest and thickest {{transliteration|ja|bachi}}, though the {{transliteration|ja|nagauta bachi}} is wider.

The {{transliteration|ja|bachi}} used for {{transliteration|ja|tsugaru-jamisen}} is the smallest, and is almost always tipped with tortoiseshell.
====Other structural variations====
The {{nihongo||駒|koma}}, or bridge, can be fashioned out of aged bamboo, ivory, ox-bone ({{transliteration|ja|shari}}), rosewood, buffalo horn, [[Pterocarpus santalinus|{{transliteration|ja|kōki}} wood]], any combination of the above, or plastic for the student level. {{transliteration|ja|Koma}} come in many heights. The higher the {{transliteration|ja|koma}}, the louder the sound will be, and the harder it is to control a rapid {{transliteration|ja|sukui}}. Higher {{transliteration|ja|koma}} are not considered suitable for beginners.
[[Image:Bachi compare.JPG|thumb|{{transliteration|ja|Bachi}} for {{transliteration|ja|min'yo}}, {{transliteration|ja|tsugaru}} and {{transliteration|ja|heike shamisen}}]]

The {{transliteration|ja|koma}} used for {{transliteration|ja|nagauta}} use a height between 3.2 and 3.6. {{transliteration|ja|Koma}} for {{transliteration|ja|nagauta}} are fashioned out of only three materials: ivory, bone, and plastic. Ivory is the most expensive and produces the most desirable sound and amplification, but due to its high price tag is normally only used in performances. Ox-bone or {{transliteration|ja|shari}} is the most popular {{transliteration|ja|koma}} material for practice and with students who are performing. Because of ivory's volume and vibration, it is normally used by a teacher or {{transliteration|ja|tate-jamisen}} (lead {{transliteration|ja|shamisen}}), so that the other players can follow their tone and signals. Plastic {{transliteration|ja|koma}} are increasingly harder in the modern day, as the material is considered to produce an undesirable sound when compared to {{transliteration|ja|shari koma}}. {{transliteration|ja|Shari}} is not much more expensive than plastic, and most teachers openly express their displeasure with plastic {{transliteration|ja|koma}} and require {{transliteration|ja|shari}}.

The {{transliteration|ja|koma}} used for {{transliteration|ja|jiuta}} vary between 2.6 and 2.8, though other heights can be specially ordered. {{transliteration|ja|Koma}} for {{transliteration|ja|jiuta}} are made out of a few select materials, such as yellow or black water buffalo horn ({{transliteration|ja|suigyu}}), which are the standard for {{transliteration|ja|jiuta}}. Blackwater buffalo horn does not have a significant sound difference when cut in the {{transliteration|ja|jiuta koma}} style, and is far less popular. Yellow {{transliteration|ja|suigyu}} is the most widely used for {{transliteration|ja|jiuta}}-style {{transliteration|ja|shamisen}}, both in practice and performance. Plastic is available because of the higher price tag of {{transliteration|ja|suigyu}}. Many people believe that for {{transliteration|ja|jiuta}}, there is not a great sound difference between the two, but there is a high change in vibration. Plastic makes a deader sound, which is not the most favorable for {{transliteration|ja|jiuta}}. {{transliteration|ja|Shari}} is used from time to time in practice, but never for {{transliteration|ja|jiuta}} performances.

{{transliteration|ja|Koma}} used for both {{transliteration|ja|tsugaru}} and {{transliteration|ja|min'yo shamisen}} are typically 2.6 in height, though sometimes 2.7 or 2.8. {{transliteration|ja|Tsugaru koma}} are very easily identifiable due to their unique structure and use of two different materials. {{transliteration|ja|Tsugaru koma}} are very thin in width, and are not very high. The base is usually made of either bamboo, smoked bamboo, or a wood of some kind, while the top half in which the strings pass through can be made of ivory, bone, or tortoiseshell. Because of the thickness of both the strings and neck of the {{transliteration|ja|futozao shamisen}}, the {{transliteration|ja|tsugaru}} bridge in general tends to be longer than the others. Both the {{transliteration|ja|gidayu koma}} (the highest {{transliteration|ja|koma}} made, fashioned out of black buffalo horn) and the {{transliteration|ja|kiyomoto koma}} (which resembles the {{transliteration|ja|nagauta koma}} exactly, save for its width) are sometimes confused with the {{transliteration|ja|tsugaru koma}}.

==Variations in playing==
[[Image:ShamisenBuskerPittStreetSydney.JPG|thumb|left|A [[busker]] playing a {{transliteration|ja|shamisen}} in [[Sydney]], Australia]]
In most genres, the {{transliteration|ja|shamisen}} strings are plucked with a {{transliteration|ja|bachi}}. The sound of a {{transliteration|ja|shamisen}} is similar in some respects to that of the American [[banjo]], in that the drum-like {{transliteration|ja|dō}}, amplifies the sound of the strings. As in the [[clawhammer]] style of American banjo playing, the {{transliteration|ja|bachi}} is often used to strike both string and skin, creating a highly percussive sound. When playing {{nihongo3|literally "little song"|小唄|kouta}} on the {{transliteration|ja|shamisen}}, and occasionally in other genres, the {{transliteration|ja|shamisen}} is plucked with the fingers. Sometimes, the {{transliteration|ja|shamisen}} is bowed with a violin bow, similar to the {{transliteration|ja|[[kokyū]]}}, a similar instrument.

==Tuning==
[[Image:Minyo bachi.JPG|thumb|{{transliteration|ja|Bachi}}, or the plectrum used for playing the {{transliteration|ja|shamisen}}|190x190px]]
The {{transliteration|ja|shamisen}} is played and tuned according to genre, with the nomenclature of the nodes in an [[octave]] also varying according to genre. A number of {{transliteration|ja|shamisen}} styles exist across Japan, and tunings, tonality and notation vary to some degree. Three of the most commonly recognized tunings across all genres are {{nihongo||本調子|honchoushi}}, {{nihongo||二上がり|niagari}}, and {{nihongo||三下がり|sansagari}}.

==={{transliteration|ja|Honchoushi}}===
{{transliteration|ja|Honchoushi}} means "home tuning" or "base tuning", and is called so because other tunings are considered to derive from it. For {{transliteration|ja|honchoushi}}, the first and third strings are tuned an octave apart, while the middle string is tuned to the equivalent of a fourth, in Western terms, from the 1st string. The most commonly used tuning is C-F-C. An example of a song that uses this tuning is {{transliteration|ja|Akita Nikata Bushi}}.

==={{transliteration|ja|Niagari}}===
{{transliteration|ja|Niagari}} means "raised two" or "raised second", referring to the fact that the pitch of the second string is raised (from {{transliteration|ja|honchoushi}}), increasing the interval of the first and second strings to a fifth (conversely decreasing the interval between the second and third strings to a fourth). The most commonly used tuning is C-G-C. An example of a song that uses this tuning is {{transliteration|ja|Tsugaru Jongara Bushi}}.

==={{transliteration|ja|Sansagari}}===
{{transliteration|ja|Sansagari}} means "lowered three" or "lowered third", referring to tuning the {{transliteration|ja|shamisen}} to {{transliteration|ja|honchoushi}} and lowering the 3rd string (the string with the highest pitch) down a whole step, so that the instrument is tuned in fourths, e.g. C-F-B♭. An example of a song in this tuning is {{transliteration|ja|Tsugaru Sansagari}}.

Instead of having a set tuning, such as on a guitar (i.e. E, A, D, G, B, E) or a violin (i.e. G, D, A, E), the {{transliteration|ja|shamisen}} is tuned according to the register of the singer, or simply to the liking of the player. The {{transliteration|ja|shamisen}} player can tune the {{transliteration|ja|shamisen}} to whatever register desired, so long as the above conventions are followed.

==Musical notation==
[[Image:Shami tab vertical.jpg|thumb|middle|Vertical {{transliteration|ja|shamisen}} tablature, read from right to left. Nodes for the 3rd string are indicated by Arabic numerals, for the 2nd string by Chinese numerals, and for the 1st string by Chinese numerals preceded by {{lang|ja|イ}}.]]
[[Image:Shami tab horizontal.jpg|thumb|right|Horizontal {{transliteration|ja|shamisen}} tablature, read from left to right. Similar to guitar tablature, three horizontal lines represent the strings of the {{transliteration|ja|shamisen}}. Nodes are represented by Arabic numerals, and note subdivisions are indicated by lines under them.]]

Music for the {{transliteration|ja|shamisen}} can be written in Western music notation, but is more often written in [[tablature]] notation. While tunings might be similar across genres, the way in which the nodes on the neck of the instrument (called {{nihongo||壷|tsubo}} in Japanese) are named is not. As a consequence, tablature for each genre is written differently. For example, in the {{transliteration|ja|min'yo shamisen}} style, nodes on the {{transliteration|ja|shamisen}} are labeled from 0, the open string called "0". However, in the {{transliteration|ja|jiuta shamisen}} style, nodes are subdivided and named by octave, with "1" being the open string and first note in an octave, starting over at the next octave. The nodes are also labeled differently for {{transliteration|ja|tsugaru}}-style {{transliteration|ja|shamisen}}. To add to the confusion, sometimes nodes can be "sharped", and since the names of nodes and their positions are different for each genre, these will also vary. Consequently, students of one genre of {{transliteration|ja|shamisen}} will find it difficult to read tablature from other genres of {{transliteration|ja|shamisen}}, unless they are specially trained to read these kinds of tablatures.

[[Tablature]] can be written in traditional Japanese vertical right-to-left notation, or it can be written in Western style horizontal left-to-right notation, which resembles modern guitar tablature. In traditional vertical notation, Chinese characters and older symbols for dynamics are used, however notation from Western style music notation, such as Italian names for dynamics, [[time signature]] and the [[fermata]] have been imported. What tuning a work calls for is usually indicated on the tablature.

==History and genres==
The Japanese {{transliteration|ja|shamisen}} originated from the Chinese {{transliteration|zh|[[sanxian]]}} ({{zh|c=三弦}}).<ref name="leiter">{{cite book|last=Leiter|first=Samuel L.|title=Encyclopedia of Asian Theatre: A-N|year=2007|publisher=Greenwood Press|isbn=978-0-313-33530-3|page=445|url=https://books.google.com/books?id=JttNAAAAYAAJ}}</ref><ref name="koda">{{cite book|title=Kodansha encyclopedia of Japan, Volume 7|year=1983|isbn=978-0-87011-627-8|page=77|url=https://books.google.com/books?id=ean3cAAACAAJ&q=Kodansha+encyclopedia+of+Japan}}</ref><ref name="malm">{{cite book|last=Malm|first=William P.|title=Traditional Japanese music and musical instruments, Volume 1|year=2000|publisher=Kodansha International|isbn=978-4-7700-2395-7|page=213|url=https://books.google.com/books?id=Yn3VQbqywCsC}}</ref><ref name="pick">{{cite book|last=Picken|first=Laurence E. R.|title=Music from the Tang Court: Some Ancient Connections Explored, Volume 7|year=2006|publisher=Cambridge University Press|location=Cambridge|isbn=978-0-521-54336-1|pages=33–34|url=https://books.google.com/books?id=G6_voeVrDkwC}}</ref> The {{transliteration|zh|sanxian}} was introduced through the [[Ryūkyū Kingdom]] ([[Okinawa Prefecture|Okinawa]]) in the 16th century, where it developed into the Okinawan {{nihongo||[[:ja:三線|三線]]|[[sanshin]]}}, from which the {{transliteration|ja|shamisen}} ultimately derives.<ref name="leiter"/><ref name="koda"/><ref name="malm"/><ref name="pick"/><ref>{{cite book|last=Lande|first=Liv|title=Innovating musical tradition in Japan: Negotiating transmission, identity, and creativity in the Sawai Koto School|year=2007|page=73|isbn=978-0-549-50670-6|url=https://books.google.com/books?id=TukqhSzefPEC}}</ref> It is believed that the ancestor of the {{transliteration|ja|shamisen}} was introduced in the 16th century through the port city of [[Sakai]], near [[Osaka]].<ref name="malm"/>

The {{transliteration|ja|shamisen}} can be played solo or with other {{transliteration|ja|shamisen}}, in ensembles with other Japanese instruments, with singing such as {{transliteration|ja|nagauta}}, or as an accompaniment to drama, notably [[kabuki]] and {{transliteration|ja|[[bunraku]]}}. Both men and women traditionally played the {{transliteration|ja|shamisen}}.

The most famous and perhaps most demanding of the narrative styles is {{transliteration|ja|gidayū}}, named after [[Takemoto Gidayū]] (1651–1714), who was heavily involved in the {{transliteration|ja|bunraku}} puppet-theater tradition in [[Osaka]]. The {{transliteration|ja|gidayū shamisen}} and its plectrum are the largest of the {{transliteration|ja|shamisen}} family, and the singer-narrator is required to speak the roles of the play, as well as to sing all the commentaries on the action. The singer-narrator role is often so vocally taxing that the performers are changed halfway through a scene. There is little notated in the books ({{transliteration|ja|maruhon}}) of the tradition except the words and the names of certain appropriate generic {{transliteration|ja|shamisen}} responses. The {{transliteration|ja|shamisen}} player must know the entire work perfectly in order to respond effectively to the interpretations of the text by the singer-narrator. From the 19th century, female performers known as {{transliteration|ja|onna-jōruri}} or {{transliteration|ja|onna gidayū}} also carried on this concert tradition.

In the early part of the 20th century, blind musicians, including [[Shirakawa Gunpachirō]] (1909–1962), [[Takahashi Chikuzan]] (1910–1998), and sighted players such as [[Kida Rinshōei]] (1911–1979), evolved a new style of playing, based on traditional folk songs ({{transliteration|ja|min'yō}}) but involving much [[improvisation]] and flashy fingerwork. This style – now known as {{transliteration|ja|tsugaru-jamisen}}, after the home region of this style in the north of [[Honshū]] – continues to be relatively popular in Japan. The virtuosic {{transliteration|ja|tsugaru-jamisen}} style is sometimes compared to [[bluegrass music|bluegrass]] [[banjo]].

{{nihongo||小唄|[[kouta (music)|kouta]]}} is a style of {{transliteration|ja|shamisen}} historically developed by and mostly performed by [[geisha]] and {{transliteration|ja|[[maiko]]}}. Its name literally means "little song", which contrasts with the musical genre of {{transliteration|ja|nagauta}} found in {{transliteration|ja|bunraku}} and kabuki; though both {{transliteration|ja|maiko}} and geisha training to play the {{transliteration|ja|shamisen}} will also learn {{transliteration|ja|naguata}} and will occasionally perform {{transliteration|ja|nagauta}} at banquets, the vast majority of musical performances seen at the parties and events they attend are {{transliteration|ja|kouta}}.

{{nihongo3|literally "regional song"|地唄|Jiuta}} is a more classical style of {{transliteration|ja|shamisen}} music.

=== {{transliteration|ja|Shamisen}} in non-traditional genres ===
[[File:Shamisen crafter with a customer.jpg|thumb|{{transliteration|ja|Shamisen}} maker with a customer, 1909]]
* [[Takeshi Terauchi]] & Bunnys utilized {{transliteration|ja|shamisen}} played by [[Michiya Mihashi]] in combo with their instrumental rock group on their single {{transliteration|ja|"Tsugaru Jongara Bushi"}}<ref>{{cite web|url=https://www.youtube.com/watch?v=EzlCAAwZv7A|title=YouTube|website=[[YouTube]]|access-date=28 February 2015}}</ref> with "Dark Eyes".<ref>{{cite web|url=https://www.youtube.com/watch?v=pa9h4qI_AMI|title=YouTube|website=[[YouTube]]|access-date=28 February 2015}}</ref>
* Japanese rock musician [[Miyavi]] has also played the {{transliteration|ja|shamisen}} on various occasions, incorporating its use in albums and during [[concert]]s (e.g. during the debut live of [[Supergroup (music)|superband]] [[Skin (Japanese band)|S.K.I.N]] concert at the 2007 [[Anime Expo]] convention at [[Long Beach, California]] on June 29, 2007).<ref>{{cite web|url=http://www.jmusicamerica.com/us/article.php?id=2713|title=S.K.I.N. debut concert live report at JAME|url-status=usurped|archive-url=https://web.archive.org/web/20080613013608/http://www.jmusicamerica.com/us/article.php?id=2713|archive-date=2008-06-13}}</ref>
* American {{transliteration|ja|tsugaru-jamisen}} player and guitarist [[Kevin Kmetz]] leads a rock band called God of Shamisen, which is based in [[Santa Cruz, California]], and also plays the instrument with the band [[Estradasphere]].<ref>{{Cite web |url=http://www.alarmpress.com/3939/music-interview/qa-god-of-shamisen/ |title=God of Shamisen interview &#124; ALARM Magazine |access-date=2010-02-10 |archive-date=2008-11-20 |archive-url=https://web.archive.org/web/20081120203727/http://www.alarmpress.com/3939/music-interview/qa-god-of-shamisen/ |url-status=dead }}</ref>
* Japanese traditional and jazz musician [[Hiromitsu Agatsuma]] incorporates a diverse mix of genres into his music. He arranged several [[jazz standards]] and other famous western songs for the shamisen on his album ''[[Agatsuma Plays Standards]]'' in 2008. His previous recordings, such as ''Beyond'' from 2004, displayed traditional Japanese styles mixed with [[funk]], [[techno]] and rock.<ref>{{Cite web|url=http://agatsuma.tv/eng/|title=上妻宏光 三味線プレイヤー Hiromitsu Agatsuma Official Website|website=Agatsuma.tv|access-date=20 April 2021}}</ref><ref name="straits">
{{cite news
 | last = Lee 
 | first =Jian Xuan
 | title =A father's hobby becomes a son's career
 | newspaper =[[The Straits Times]]
 | location =Singapore
 | date =29 March 2016
 | url =http://www.straitstimes.com/lifestyle/arts/a-fathers-hobby-becomes-a-sons-career
 | access-date =7 February 2017}}</ref>
* [[Noriko Tadano]] is a {{transliteration|ja|[[Tsugaru-jamisen|tsugaru shamisen]]}} player born and raised in Japan, who now resides in Australia. She has collaborated with a wide variety of musicians from genres such as blues, jazz, folk, experimental and electronic music. Tadano has performed in collaborations at a number of world festivals.<ref>{{Cite web |date=2017-10-25 |title=Kāpiti Coast's one-day festival Coastella announces its line-up |url=https://www.stuff.co.nz/entertainment/music/98230990/kptiti-coasts-oneday-festival-coastella-announces-its-lineup |access-date=2022-04-04 |website=Stuff |language=en}}</ref><ref>{{Cite web |date=2017-08-01 |title=Powell Street Festival's George and Noriko: how the Japanese Blues Cowboy met the Tsugaru Shamisen Player |url=https://www.straight.com/arts/943336/powell-street-festivals-george-and-noriko-how-japanese-blues-cowboy-met-tsugaru-shamisen |access-date=2022-04-04 |website=The Georgia Straight |language=en}}</ref><ref>{{Cite web |title=Womadelaide |url=https://archive.womadelaide.com.au/2010/artists/56-kamikawa-tadano.html |access-date=2022-04-04 |website=archive.womadelaide.com.au}}</ref> Tadano performed in the [[blues]] duo 'George & Noriko' on season 6 of ''[[Australia's Got Talent season 6|Australia's Got Talent]]'', making it to the finals.<ref>{{Cite web |date=2017-08-01 |title=Powell Street Festival's George and Noriko: how the Japanese Blues Cowboy met the Tsugaru Shamisen Player |url=https://www.straight.com/arts/943336/powell-street-festivals-george-and-noriko-how-japanese-blues-cowboy-met-tsugaru-shamisen |access-date=2022-04-01 |website=The Georgia Straight |language=en}}</ref>
* [[Wagakki Band]] is a Japanese folk-rock fusion band that features various traditional Japanese instruments including the shamisen, played by [[Beni Ninagawa]].<ref>{{Cite web | title = Guest - Wagakki Band | url = https://www.japan-expo-paris.com/en/invites/wagakkiband_419.htm | website = japan-expo-paris.com | date = 27 April 2014 | access-date = 2024-02-06}}</ref><ref>{{Cite web | url = https://www.youtube.com/watch?v=ponTbDDMYjw | title = Wagakki Band - 焔 (Homura) + 暁ノ糸 (Akatsuki no Ito) / 1st JAPAN Tour 2015 Hibiya Yagai Ongakudo | access-date = 2024-02-06 | website = youtube.com| date = 21 January 2020 }}</ref>
* Japanese [[Metal (genre)|metal]] group [[Ryujin (band)|Ryujin]] has used the shamisen in some of their songs.

==See also==
*{{transliteration|ja|[[Biwa]]}}
*{{transliteration|ja|[[Gagaku]]}}
*{{transliteration|ja|[[Kokyū]]}}
*{{transliteration|ja|[[Sankyoku]]}}
*{{transliteration|ja|[[Sanshin]]}}
*{{transliteration|zh|[[Sanxian]]}}
*{{transliteration|ja|[[Tsugaru-jamisen]]}}
{{-}}

== References ==
{{Reflist}}

==Bibliography==
*{{Cite web|url=http://brill.nl/default.aspx?partid=210&pid=28179|title=The Shamisen: Tradition and Diversity – BRILL|date=13 December 2010|archive-url=https://web.archive.org/web/20101213141302/http://brill.nl/default.aspx?partid=210&pid=28179|access-date=20 April 2021|archive-date=2010-12-13}}

==External links==
{{Commons category|Shamisen}}
*[https://web.archive.org/web/20101213141302/http://brill.nl/default.aspx?partid=210&pid=28179 Book on Shamisen]
*[https://web.archive.org/web/20060503204834/http://www.lindacaplan.com/koto/shamisen.html About Shamisen]
*[https://web.archive.org/web/20080915084540/http://www.jishin.lemacsi.com.br/ Jishin Shamidaiko (Brazil)]
*[http://www.godofshamisen.com/ God of Shamisen is a progressive/metal band that has implemented the acoustic and amplified sound of the tsugaru-jamisen]
*[http://www.nitaboh.com/english/index.html Nitaboh Official Site] (feature movie about the disputed origin of the Tsuragu-jamisen style)
*[http://yasumimiyazawa.hp.infoseek.co.jp/en/ Kouta] {{Webarchive|url=https://web.archive.org/web/20090204173531/http://yasumimiyazawa.hp.infoseek.co.jp/en/ |date=2009-02-04 }}
*[https://web.archive.org/web/20090105020241/http://jtrad.columbia.jp/eng/u_nagauta.html Nagauta]
*[https://web.archive.org/web/20090207173644/http://jtrad.columbia.jp/eng/history05.html Hauta – Utazawa – Kouta]
*{{usurped|1=[https://web.archive.org/web/20080613013608/http://www.jmusicamerica.com/us/article.php?id=2713 S.K.I.N.'s World Debut]}} – S.K.I.N. debut concert live report at JAME

===Audio===
*[https://www.myspace.com/gos Listen to a shamisen (in modern times)]

{{Traditional Japanese musical instruments}}
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[[Category:Shamisen| ]]
[[Category:Japanese musical instruments]]
[[Category:Drumhead lutes]]
[[Category:Spike lutes]]
[[Category:Continuous pitch instruments]]
[[Category:String instruments]]
[[Category:Japanese words and phrases]]
[[Category:Lute family instruments]]